Beepster
I had a friend who did image color restoration work for a pretty big company. Man that girl knew WAY too much about color. Ha, it was pretty interesting though. One time she had some stuff with her from work and showed me how she has to pick out extremely subtle differences in colors. It was crazy how good her eyes were.
Used to be my biggest comment about my boss then ... how he had no "life" in his coloring choices, and always had to "warm" the pictures up some by making them a big "redder" ... that is more yellow and then red to compensate. Sp the whites are never really white ... I love to see this on wedding gowns, btw, which is how/when you can tell how good the photographer (or lab) really is!
(Color wheel for light/photography is red opposite green, yellow opposite blue, btw ... very different from the color wheel in paint! ... remember that!!!)
Next picture of you, set it next to your skin, so you can see the difference.
Btw, digital technology is working really well in trying to sensitize this better and some of these are good enough that some professional cameras you can actully put a color bar next to it, so you can evaluate its settings. The 4k professional Nikkon I want has one of these color bars in it, and they are the "same" as the one from Kodak, and Fuji ... Kodak favors yellows and Fuji the blues -- but it allows you to see how "professionals" work with color a little more than the average person does.
The film itself, was cotton based with chemicals, and you normally have to color correct some of these. I used Kodak 800 for all my rock band shoots, which at the time was only available to professionals. The 1200 was AWFULL and grainy, as was the Fuji, and it allowed me to take dark pictures, and still use a flash as needed, required or necessary, provided I made adjustments to the Fstops which was not a problem for me. Though I shot way too many pics on F1.2 ... which is recommended only on a tripod. But some of mine came out ok. F1.2 on 800 is not bad, better on 1200, but impossible on 100 or 200 film, for example. This stuff, of course, is not even important today, as most digital cameras have made this all invisible ... but one thing is that it has taken a lot of the "individuality" out of photographers ... thus, if I go back to shooting bands (probably will when I retire) ... chances are that I will balance/weight out the ability to do this automatically, or do a special shot and effect, which can not be done with the digitized settings all the time.
Remember we're talking about the camera's ability to grab the picture, not discussing its storing of information that you can transfer. This is about the lens it has and what it can capture and how.
All of my shoots were pretty much done without a light meter, since it is superfluous to run it on a dark spot. Exception ... the group picture of Gong at Berbatti's in Portland. That was a pro shoot with a 6x7 film Pentax.
post edited by Moshkiae - 2012/09/08 15:36:51